jussi parikka geology of media

One way to understand this, and I know that this is only one small part of a more complex pattern, is that a lot of it happens on indigenous lands, and hence reproduces a particular relation to the Global South. , argues that such discipline should account for the scales beyond human perception and offer a vision beyond human capabilities. It picks up on the idea of deep time—a radically non-human temporal scale—in order to think of media culture, technologies, and materiality. , he explores multiple environmental temporalities that media and technological arts are involved in. request. Jussi Parikka October 11, 2013. Trevor Paglen, Spacecraft in Perpetual Geosynchronous Orbit, 35,786 km above Equator, 2010 (detail, part 2 of diptych). In using the term polytemporality there lies one interesting connection to the brief for The Terraforming too. I myself, when I describe this temporality, I often use this simple example from the French philosopher Michel Serres. Over the years Parikka has addressed a wide range of subjects ranging from computer viruses in his book, (2007); to distributed animal intelligence in the award-winning, (2010); to technological waste and the materiality of media in the, , 2010 (detail, part 2 of diptych). The idea that we’re dealing with geological time becomes a vehicle through which we start to unfold these large-scale processes. Until May 2011 Parikka was the Director of the Cultures of the Digital Economy research institute at Anglia Ruskin University and the founding Co-Director of the Anglia Research Centre for Digital Culture. Parikka’s most recent work has been on art and “Middle East Futurisms” and a co-authored short book Remain (2019, also available as Open Access). It partly emerges from research in a field called. A key point here is that there are always multiple timescales involved in these determinations of global politics, geopolitics, and how they are related. Asia Bazdyrieva and Solveig Suess’ work on the Digital Belt and Road infrastructure initiative is a great example of the thematic connection to geologies of media in contexts of sustainability sciences, geopolitics, and art (moving image) practices. The materiality of media is no longer restricted to questions of economies or technics but extends all the way to its molecular composition. Photograph by Javier Broto. As such, it becomes part of the recent years of discussions about environments, the Anthropocene, and materiality of media. So we dip in and out of questions of nineteenth century analysis of light, for example, but outside photography, and through research into plants. , whose project emerged from the earlier Strelka program, The New Normal. Jussi Parikka’s research focuses on interrelations between technological culture, ecology and media aesthetics. June 30, 2020 jussiparikka Leave a comment. And then our methodologies of how we unbundle them for analytical purposes is important—looking at geological time is actually about looking at multiple timescales as mentioned earlier. He talks about polytemporalities of technological objects. The Terraforming: Meet the First Cohort of Researchers, Exclusive interviews with leading experts and the latest research, news, and events from Strelka Institute delivered straight to your inbox, Bersenevskaya embankment 14, bldg. He has published widely on media archaeology and material media cultures. Media history is millions, even billions, of years old. , they have these multiple temporalities and durations packed in them as well. He is also Docent of digital culture theory at the University of Turku in Finland. Violence is indeed a question of ecological violence in a broader sense as well—in terms of indigenous lands, in terms of landscapes, in terms of non-human lives. "Jussi Parikka’s A Geology of Media really expands what media theory can do. Folded limestone near Ayios Pavlos on Crete, Greece. "—Spheres "A Geology of Media is an excellent book, which mixes cultural theory and history with geological science and contemporary art. Speaking of design, but also arts as a research perspective, over the past two years I’ve been in interaction with several curated exhibitions, artistic projects that mobilized similar ideas about multiple scales of materiality, of media culture, of fossil and post-fossil fuel landscapes and imaginaries; of geologies of media, but also more than just geological materials. So this bundling of temporalities defines what technology is. Courtesy of the artist. March 22, 2020 jussiparikka The Czech translation of A Geology of Media is now out and available with Karolinum publishing house (Prague) as Geologie médií. A Geology of Media book. The exact opposite is the case. 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